I don’t usually comment on reviews, but this one by Martha Schwendener didn’t get it right. Mary’s move to Topanga canyon was highlighted as a “hedge against feminism” rather than the ultimate show of strength and independence, a self-assured move away from mainstream groupings of male artists such as the ferus gallery macho gang. She was (and is) self-reliant and wanted to be recognized for the strength of her work not her gender, how basic! Plenty of men artists have escaped the city metropolis to find creative refuge in open natural spaces like Donald Judd (Marfa), Larry Bell (Taos), John McCracken (Santa Fe), Rauschenberg (Captiva Island), etc. When men isolate themselves geographically, it is portrayed as a vanguard move possessed of creative brilliance, but if women do it, it’s portrayed as a sign of weakness or craziness. Agnes Martin’s retreat to New Mexico was deemed the result of bouts of catatonic and bipolar behavior...Yayoi Kusama self-interned herself in an asylum causing everyone to deem her crazy, (but maybe she brilliantly outsmarted the system because it gave her unfettered ability to produce her work.) I see a real problem with this dichotomy, seems like a passive aggressive undermining of women’s choices in history.... Also the main reason Mary lacked market recognition, was not the geographic location of her studio, but because she was represented by Ace Gallery for several decades. While Ace was an historic Los Angeles gallery, it was not a mainstream international gallery, and did not do art fairs, which greatly limited her exposure. The Whitney and DIA shows are not “market driven,” just the reverse. The cause and effect relationship is backwards. The fact that she now has a bevy of international galleries is not the cause of the shows, but rather the result, the effect of long-overdue institutional recognition. What is shocking is the statement that Corses work is not as “deep” as Albers, Martin, Reinhardt, and as “painterly” as Ryman. Or that she didn’t push the discoveries further. It’s apples to oranges. Corse was always a painter, she was not interested in volcanos or other off-the-wall art forms. (Continued in next comment below)

🇦🇹 FINAL WEEK: Gelatin: “New York Golem” is on view in our ground floor gallery through Friday, August 4. 🇦🇹 Mankind Denim All 7 winter Boutique For Shorts Xwq7xIfxW’ #MarthaSchwendener writes, “Playful and puerile, the current show from the collective Gelatin... corresponds with the ethos of its earlier work as well as the long history of Austrian art provocateurs like Egon Schiele, the Vienna Actionists, Valie Export and Franz West.” 📰

tbt 🌊 Yves Tessier solo exhibition at @shrine.nyc in the Mankind Denim All 7 winter Boutique For Shorts Xwq7xIfxW 🌤 "... The internet is crucial to [Tessier's practice]. History and the present, politics and poetry, the sublime and the ridiculous can now be digitally compressed into clever memes. Mr. Tessier's images channel some of that strangeness and possibility." - Martha Schwendener ✨ Shop Tessier's new print now via link in bio❕

I don’t usually comment on reviews, but this one by Martha Schwendener didn’t get it right. Mary’s move to Topanga canyon was highlighted as a “hedge against feminism” rather than the ultimate show of strength and independence, a self-assured move away from mainstream groupings of male artists such as the ferus gallery macho gang. She was (and is) self-reliant and wanted to be recognized for the strength of her work not her gender, how basic! Plenty of men artists have escaped the city metropolis to find creative refuge in open natural spaces like Donald Judd (Marfa), Larry Bell (Taos), John McCracken (Santa Fe), Rauschenberg (Captiva Island), etc. When men isolate themselves geographically, it is portrayed as a vanguard move possessed of creative brilliance, but if women do it, it’s portrayed as a sign of weakness or craziness. Agnes Martin’s retreat to New Mexico was deemed the result of bouts of catatonic and bipolar behavior...Yayoi Kusama self-interned herself in an asylum causing everyone to deem her crazy, (but maybe she brilliantly outsmarted the system because it gave her unfettered ability to produce her work.) I see a real problem with this dichotomy, seems like a passive aggressive undermining of women’s choices in history.... Also the main reason Mary lacked market recognition, was not the geographic location of her studio, but because she was represented by Ace Gallery for several decades. While Ace was an historic Los Angeles gallery, it was not a mainstream international gallery, and did not do art fairs, which greatly limited her exposure. The Whitney and DIA shows are not “market driven,” just the reverse. The cause and effect relationship is backwards. The fact that she now has a bevy of international galleries is not the cause of the shows, but rather the result, the effect of long-overdue institutional recognition. What is shocking is the statement that Corses work is not as “deep” as Albers, Martin, Reinhardt, and as “painterly” as Ryman. Or that she didn’t push the discoveries further. It’s apples to oranges. Corse was always a painter, she was not interested in volcanos or other off-the-wall art forms. (Continued in next comment below)

Congratulations on Torkwase Dyson's fellowship bestowed on her by the Graham Foundation "for Advanced Studies in the Fine Arts to foster the development and exchange of diverse and challenging ideas about architecture and its role in the arts, culture, and society." Torkwase Dyson's new solo exhibition runs from March 15-May 5th, 2018 at Davidson Contemporary @davidsoncontemporary located at 521 West 26th Street. Dyson's show entitled, Dear Henry and is conceived as a letter to the courageous Virginian slave who escaped by mailing himself in a crate to freedom. In addition to Dyson's gallery exhibition is her group show at The Whitney Museum entitled, Between The Waters. Martha Schwendener (art critic of NYT) has referred to Dyson's work as "effectively hijacks the histories of abstraction and black painting, offering a compelling rejoinder to the idea of “pure,” ahistoric and universal abstraction. It is an evocative and timely gambit." Mankind Denim All 7 winter Boutique For Shorts Xwq7xIfxW#marthaschwendener#whitneymuseum#artforum#grahamfoundation

5608:46 PM Mar 20, 2018

Congratulations on Torkwase Dyson's fellowship bestowed on her by the Graham Foundation "for Advanced Studies in the Fine Arts to foster the development and exchange of diverse and challenging ideas about architecture and its role in the arts, culture, and society." Torkwase Dyson's new solo exhibition runs from March 15-May 5th, 2018 at Davidson Contemporary @davidsoncontemporary located at 521 West 26th Street. Dyson's show entitled, Dear Henry and is conceived as a letter to the courageous Virginian slave who escaped by mailing himself in a crate to freedom. In addition to Dyson's gallery exhibition is her group show at The Whitney Museum entitled, Between The Waters. Martha Schwendener (art critic of NYT) has referred to Dyson's work as "effectively hijacks the histories of abstraction and black painting, offering a compelling rejoinder to the idea of “pure,” ahistoric and universal abstraction. It is an evocative and timely gambit." Mankind Denim All 7 winter Boutique For Shorts Xwq7xIfxW#marthaschwendener#whitneymuseum#artforum#grahamfoundation (pictured: installation image from #DearHenry at #DavidsonContemporary)

🇦🇹 FINAL WEEK: Gelatin: “New York Golem” is on view in our ground floor gallery through Friday, August 4. 🇦🇹 Mankind Denim All 7 winter Boutique For Shorts Xwq7xIfxW’ #MarthaSchwendener writes, “Playful and puerile, the current show from the collective Gelatin... corresponds with the ethos of its earlier work as well as the long history of Austrian art provocateurs like Egon Schiele, the Vienna Actionists, Valie Export and Franz West.” 📰

tbt 🌊 Yves Tessier solo exhibition at @shrine.nyc in the Mankind Denim All 7 winter Boutique For Shorts Xwq7xIfxW 🌤 "... The internet is crucial to [Tessier's practice]. History and the present, politics and poetry, the sublime and the ridiculous can now be digitally compressed into clever memes. Mr. Tessier's images channel some of that strangeness and possibility." - Martha Schwendener ✨ Shop Tessier's new print now via link in bio❕

Today is the last day to see Anoka Faruqee’s “Rainbows and Bruises”. Martha Schwendener describes the artist’s process for the New York Times: “To make her linen-on-panel paintings, she applies different layers of pigment, sometimes based on the CMYK model— that is, the four-color photographic process that incorporates cyan, magenta, yellow and black—with specially fabricated steel combs, and moves the paint across the surface to create abstract circular, wave and moiré patterns. She then sands the paintings to achieve a smooth, flat effect. There is a digital neatness to the works—except when you look at the sides, where the paint and the clear gel filling the negative space left by the combs are allowed to ooze over the edges. Glitches, accidents and mistakes made with the combing process are preserved like fossils or amber in the carefully sanded surfaces.” #AnokaFaruqee#RainbowsandBruises#MarthaSchwendener#TheNewYorkTimes#LastChance#koenigandclinton

Anoka Faruqee’s “Rainbows and Bruises” reviewed by Martha Schwendener today in The New York Times. Here’s a section: “In the same way [Georges] Seurat and Ms. [Bridget] Riley worked with color and pattern when the technologies of their time — like electric lighting for Seurat and television for Ms. Riley — were altering human vision and perception, Ms. Faruqee’s work serves as an analog counterpoint to pixels and liquid crystal displays. She has created rigorous works that engage the eye, the body and the brain and make you think about how we perceive and process visual information today.” Read the review in full and then come in to see the show. #AnokaFaruqee#RainbowsandBruises#NYTimes#MarthaSchwendener#GeorgesSeurat#BridgetRiley#JosefAlbers

Gallery artists Henry Chalfant and Martha Cooper were praised by #MarthaSchwendener in the @nytimes. "Thanks to Mr. Chalfant and others, like Martha Cooper, the ephemeral work was preserved in photographs. Sure, it was illegal. But graffiti art has become one of the most globally recognizable and copied forms of contemporary culture. And in the realm of creative civil disobedience, it is one of the most extraordinary instances of a bunch of young, working-class artists affecting the world." Watch out for Martha Cooper's upcoming solo exhibition, opening on April 20th. l "Henry Chalfant: 1980" is now on view at Eric Firestone Gallery until January 21st.